DOI Page / Citation link:
https://doi.org/10.11588/diglit.67657#0634
Anonymous.
509
ANONYMOUS ENGRAVERS INFLUENCED
BY THE CAMPAGNOLAS.
1. LEDA AND THE SWAN.
B. xiv. 188, 233 (Agostino Veneziano).—P. v. 61, 36 (Robetta).—
Kristeller, Giulio Campagnola, No. 16.
Leda lies against the stump of a fig tree 1., and receives the swan in
her embrace. In the background is a town on either side os a river
spanned by a four-arched bridge and bordered by water-mills. Two men
are swimming in the river.
[168 x 198] Good early impression.
Collection: John Barnard.
Purchased 1845. 8. 25. 802.
Other impression: Paris (B. N.).
Reproduction: P. Kristeller, G. Campagnola, 1907, No. 16.
This print has been attributed by Dr. Kristeller 1 * to Giulio Campagnola, and
bears clear marks of his inssuence. Bartsch however seems to be nearer the
truth in assigning the plate to Agostino Veneziano. Comparison with a plate
like the Naked woman and child signed a.v. (B. xiv. 309, 410) shows close if
not quite convincing analogies. The handling matches even more strictly that
of the Cupid and Horse signed with the monogram 2F (B. xv. 536, 2). There
is the same shading with closely laid lines ending in dots for the half-lights,
and almost the same clouds and reeds. Considering the lack of conclusive
evidence, and the fact that not only Agostino Veneziano but several other
masters (such as the monogrammists J7 and -F’ H ■) were doing work in a
similar spirit imitative of Giulio Campagnola, it seems safest to leave the
attribution an open question.
In some respects the treatment of the buildings in the background suggests
a knowledge of Rome, and nearly resembles that in the anonymous engraving
of the Adoration of the Magi (see Part I, F. II. 19), which is certainly a Roman
production of the early 16th century.
2. LANDSCAPE WITH TWO TREES AND A GROUP OF BUILDINGS.
P. v. 171, 24.
On either side of the foreground is a tree in full leaf ; the background
is filled by a group of gabled buildings, near the centre of which is a
tower with an exterior staircase leading up from a wooden gallery.
[125 x 168] Tolerable impression, slightly discoloured and torn.
Collection: Wellesley (1860, No. 39).
Purchased 1860. 6. 9. 46.
Other impressions: Paris (B. N., and E. de R.), Berlin (plate line, 127 X 171),
Davidsohn (Berlin). •
The design is quite in the spirit of Domenico Campagnola’s earlier landscape
drawings.
1 Previously also by Harzen, according to a ms. note on the Paris
impression.
509
ANONYMOUS ENGRAVERS INFLUENCED
BY THE CAMPAGNOLAS.
1. LEDA AND THE SWAN.
B. xiv. 188, 233 (Agostino Veneziano).—P. v. 61, 36 (Robetta).—
Kristeller, Giulio Campagnola, No. 16.
Leda lies against the stump of a fig tree 1., and receives the swan in
her embrace. In the background is a town on either side os a river
spanned by a four-arched bridge and bordered by water-mills. Two men
are swimming in the river.
[168 x 198] Good early impression.
Collection: John Barnard.
Purchased 1845. 8. 25. 802.
Other impression: Paris (B. N.).
Reproduction: P. Kristeller, G. Campagnola, 1907, No. 16.
This print has been attributed by Dr. Kristeller 1 * to Giulio Campagnola, and
bears clear marks of his inssuence. Bartsch however seems to be nearer the
truth in assigning the plate to Agostino Veneziano. Comparison with a plate
like the Naked woman and child signed a.v. (B. xiv. 309, 410) shows close if
not quite convincing analogies. The handling matches even more strictly that
of the Cupid and Horse signed with the monogram 2F (B. xv. 536, 2). There
is the same shading with closely laid lines ending in dots for the half-lights,
and almost the same clouds and reeds. Considering the lack of conclusive
evidence, and the fact that not only Agostino Veneziano but several other
masters (such as the monogrammists J7 and -F’ H ■) were doing work in a
similar spirit imitative of Giulio Campagnola, it seems safest to leave the
attribution an open question.
In some respects the treatment of the buildings in the background suggests
a knowledge of Rome, and nearly resembles that in the anonymous engraving
of the Adoration of the Magi (see Part I, F. II. 19), which is certainly a Roman
production of the early 16th century.
2. LANDSCAPE WITH TWO TREES AND A GROUP OF BUILDINGS.
P. v. 171, 24.
On either side of the foreground is a tree in full leaf ; the background
is filled by a group of gabled buildings, near the centre of which is a
tower with an exterior staircase leading up from a wooden gallery.
[125 x 168] Tolerable impression, slightly discoloured and torn.
Collection: Wellesley (1860, No. 39).
Purchased 1860. 6. 9. 46.
Other impressions: Paris (B. N., and E. de R.), Berlin (plate line, 127 X 171),
Davidsohn (Berlin). •
The design is quite in the spirit of Domenico Campagnola’s earlier landscape
drawings.
1 Previously also by Harzen, according to a ms. note on the Paris
impression.